Marion Rauter (by Nora Theiss ) P4

Her first self-portrait expresses everything that Marion Rauter has always considered as important in her paintings and that now comes to the fore in such a personal and powerful way - the human existence. In the artist's work, one could call the self-portrait a picture of transition.
It shows a woman at the threshold of change. She appears both strong and exhausted. She braces herself against a patina green wall as if it was her own life. It appears as if she was at an end but, simultaneously, as if she wanted to push this wall away with all her strength. That is it: the transition from appearing to be, to being!

However, the moment has not yet arrived. The protagonist still has a long way ahead of her. By way of recognition. Marion Rauter steps into the scene with her arms wide open, unprotected, defenceless, shouldering everything in the physical position of Christ crucified. A tremendous gesture! Albrecht Durer adopted the iconography of the depiction of Christ in his 'Selbstbildnis im Pelzrock (1500) [Self-portrait in a fur coat]. The frontal position, the direct glance, all this can also be found in Marion Rauter's self portrait 'Erkennen' (2011) [Recognising].

Here I am - and I go my way. This way leads 'Ins Sein' (2012) [Into being]. Once more, a woman stands leaning against a wall, but this time with her back to the viewer. She supports herself with her hands against a window pane looking outside. Where she looks one cannot know, but out there is a world in need of being filled with life - everything is happening there, there is life in all its beauty, ugliness and vulnerability, with all the emotions.
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